A live recording from the Ritual Performance of the Fruits of Yggdrasil album material London 19.09.2009.
For the first time Freya Aswynn and Patrick Leagas collaborated live nearly twenty years after the original album was recorded.
Presented as a full color picture disc including printed information flyer/poster.

“Something for Nobody” is a 3 volume limited edition LP set celebrating ABORYM's 25 years of industrial sonic militancy. Vol.1 offers 5 unreleased sky scraping remixes and covers from ABORYM and part 1 of the Something For Nobody soundtrack as part of the Sakrifice motion picture film score. This collection of recordings is the legacy of a band that is constantly on the run and ahead of its time, breaking down barriers and evermore pushing further the sonic frontiers of a genre it has set for itself and going places where few dare venture.

Pentecost III' was recorded at the Academy Studios in Yorkshire UK and was released in CD format only in early 1995. It featured a reworking/re-recording of the Memento Mori track from the 'Iliad of Woes' demo, plus the hidden track '666'.

This was the last Anathema release that vocalist Darren White appeared on.

This is the first vinyl edition of 'Pentecost III', having only reached the test pressing stage originally, and is presented on 180-gram black vinyl with a printed lyric inner sleeve. The album was digitally remastered at Transfermation in 2004.

The original test pressing was for a vinyl EP version of Pentecost III that had a different track order than this LP, and fewer tracks.

Tracks A1 to A4 recorded in Studio Urkaos, Torsång, Dalecarlia, 2006.
Previously released in 2012 on cassette by Total Holocaust Records.

Track B is listed as 'Christ's Dawn Vel Canta Symphoniæ Sacrosanctæ Phasmatvm Exseqvialivm' on the back cover.
Recorded at the dawn of Roman Catholic Black Metal, Old Malacht Studios, October 2004, "under a waxing moon the eight month in the 5765th year".
Final additions, N-track old old God, "the night when the eclipsed full moon became as blood", hours before dawn, the 13th of Cheshvan.
Mastered at DB Studios, insequenti anno.

Quote from label: "L’esprit des vents, third album from the trilogy started with La Croisée des Vents (2007) and followed by La Cité des Vents (2010), mark the band’s return after 7 years of discographic absence and 10 years of existence. The album is built on a desire of continuity, yet in the same time a will to break with what has been done : a more elaborated sound, an assumed maturity. The subjects are once again local, regional and occitan legends and tales, but also story of famous smugglers or belligerent figures who marked some periods of our country".

Quote from label: "contains 11 nighttime tracks brimming with rhythmic switchbacks and momentum swings that push darkness into strange and intriguing corners. The record replaces ANO's riotous rollicking with shadowy landscapes of grim sound that encapsulate the band's eccentricity. From the psych-rich shake of "Turn on Your Mind" and "Human Toad" to the death-ride kick of "Up to the Sky" and "Crystal Man" through to the twisted take on the 13th Floor Elevators' "Roller Coaster", AQUA NEBULA OSCILLATOR's Spiritus Mundi plays like a haunting dream of dark and disturbing things, offering a can't-miss masterclass on the emotional possibilities of sound."

“Take a breath. Drink a beer. Smoke weed. Relax. Drink another beer. Push the volume up. Press play. Explode. Get fuzzed.” These are the words that ATOMIC TRIP live by and for good reason – this band fucking rules! These DOOM warlords have created the Instrumental Doom album of the year entitled Strike #1. Over the course of 40 minutes, this band proves that they can’t be fucked with when it comes to creating riffs that kill on contact. What I love about this record is how they are able to manifest such dynamic songs without using vocals. ATOMIC TRIP’s tunes are the perfect soundscape for your mind to run wild in a HEAVY NEVER-NEVER-LAND! CVLT Nation must salute these Doom Warlords for creating the best Instrumental Doom album of 2017…Now all you have to do is release it on vinyl or cassette, PLEASE!" - CVLT NATION

“Take a breath. Drink a beer. Smoke weed. Relax. Drink another beer. Push the volume up. Press play. Explode. Get fuzzed.” These are the words that ATOMIC TRIP live by and for good reason – this band fucking rules! These DOOM warlords have created the Instrumental Doom album of the year entitled Strike #1. Over the course of 40 minutes, this band proves that they can’t be fucked with when it comes to creating riffs that kill on contact. What I love about this record is how they are able to manifest such dynamic songs without using vocals. ATOMIC TRIP’s tunes are the perfect soundscape for your mind to run wild in a HEAVY NEVER-NEVER-LAND! CVLT Nation must salute these Doom Warlords for creating the best Instrumental Doom album of 2017…Now all you have to do is release it on vinyl or cassette, PLEASE!" - CVLT NATION

Quote from label: "The new revelation of Italian Black Metal scene: Blaze Of Sorrow! Echi is the third album in the band's existence.
Expect stylish Italian Nostalgic Black Metal. A must release for the Italian Black Metal lovers who are into late Spite Extreme Wing."

The whole discography of this infamous horde from France finally available on LP.
18 tracks gathering the various demos, split & eps, and unreleased tracks initially intended to appear on a split LP.
Unholy, Liturgical and Raw as Fuck BLACK METAL.

Quote from label: "Gatefold 2x12"LP with lyrics, some exclusive pictures & A2 poster. This is a retrospective of CELESTIA's musical past with remastered sound. Including "A cave full of Bats" Mcd, "The Awakening of the Dormant Fiancée" Demo, "A Dying out of Ecstasy" Demo, also material from the split tape with EVIL(Bra) and other material recorded for the SABBAT LP tribute. - Limited to 500 copies".

Con-Dom stands for Control-Domination, and is the one-man industrial noise band of Mike Dando. Con-Dom explores any kind of social tensions and control: political, religious, racial, with an acid, violent and uncompromising attitude. He is well-known in the industrial scene for his furious ravaging vocals and the devastating live performances, in which he turns into a real stage animal.

with poster. Quote from UCR website : the last opus from Corpus Christii is a voyage through decay, misery and a savage claustrophobic disharmony of thoughts. A continuation of the previous album "Tormented Belief" but with an obvious change, much more variation and a dirtier sound feeling like if it was recorded in the early 90´s, a true classic. Not expected to be a turn point in the Black Metal scene but to be one more contribution to what lies true in the real Satanic Black Metal scene. Feel destroy and get destroyed....for HIM.

Including an exclusive track "Le Silence d'Anna" from an old recording session.
A2 poster and printed inner sleeve.
Limited to 500 copies.

(Description by J. Campbell)
Released on CD in 2005, “L’alliance Des Venins” has long been considered by many to be among the most prominent recordings in the canon of French Black Metal. While Darvulia’s influence may not be as widely recognized as some other French acts such as Peste Noire or those in the LLN camp, the band’s 15 years of existence is a testament to the power of the music. That the band only has eight official releases (including just three full-lengths) to its name during that time is evidence of the deliberate manner by which Darvulia sets about writing and recording material and explains the remarkably high quality of the band’s catalog. “L’alliance Des Venins” is arguably the most substantial statement made by the band, and may easily be considered among the most impressive, if often overlooked, Black Metal releases of the past decade. Darvulia incorporates melody, intensity, and discordance in equal measure into the overall tapestry of its sound. Assertive passages of rapid and sprawling melody give way to mid-paced and down tempo atmospheric segments pregnant with the tension of restraint. Woven throughout the album are astounding riffs that shimmer with melancholy minor key dissonance. The effect calls to mind some of the more atonal aspects of Piggy’s playing in Voivod, but the riffs here are firmly embedded in the sweeping, sorrowful, and decidedly French, Black Metal tradition. The overall impact is wholly unique. No other band in Black Metal quite utilizes shifts in tempo and prominently misaligned harmonies to such tremendous effect. The production on “L’alliance Des Venins” also deserves comment. The album is never blown out or overdriven, leaving intact the disorienting interplay of incongruous notes while also maintaining and merging the visceral attack of each instrument. The production, like the songwriting, never incorporates any extraneous and unnecessary elements, and, in this way, Darvulia relies precisely upon those sounds needed to achieve the desired effect and nothing more. The cover art, a simple rendering of the main de gloire or hand of glory, is as evocative and austere as the music within and bespeaks the potent and mystical aura of death that the album exudes. At its summits, “L’alliance Des Venins” attains a state of grandeur and brilliance of form that casts the album alongside the greatest in the genre. Includes A-2 poster and printed inner sleeve.

(Description by C. Conrad)
Although the band is entirely French in its nationality and stylistically in its brand of black metal, Darvulia likely derives its name from the Hungarian witch, Anna Darvulia, a servant of the infamous Elizabeth Bathory who is said to have provided Bathory with guidance during the most prolific period of the countess’s notorious atrocities. It is an appropriately adopted moniker, given that the band’s musical output would serve as a fitting soundtrack to the mind of a depraved psychopath. Nuclear War Now’s admiration of Darvulia’s work extends back to the band’s second full-length album from 2005, entitled “L’Alliance des Venins,” which NWN! has credited as being a masterpiece of French black metal. Despite the fact that it has been somewhat overshadowed by the band’s sophomore effort, Darvulia’s third album, “Mysticisme Macabre,” follows the same recipe established by its predecessor five years prior to the latter album’s original CD release by Battlesk’rs Productions in 2010. Another six years later, “Mysticisme Macabre” now receives its first release on vinyl LP format, courtesy of a joint endeavor between Nuclear War Now! and Battlesk’rs Productions.
As with Darvulia’s previous album, “Mysticisme Macabre” is most effective in its entrancing, repetitive song structures. Individual songs tend to abruptly alternate between blisteringly-fast and hypnotically-languid tempos. In combination with the unsettling effect of these contrasting tempo shifts, the riffs further disorient the listener with their unyielding and cyclical progressions among atonal, tremolo-picked chords and dissonantly arpeggiated sequences of notes. Rather than attempt to impress its audience with an unending barrage of constantly changing intracacies, Darvulia instead chooses to leave its mark with the narcotic reduplication of this proven formula. In addition, the abrasively throaty vocals present throughout greatly contribute to the overall portentous nature of the music. Occasionally, as in “Le Rituel des Sept Serpents,” two separate vocal tracks recorded in alternate pitches and deliveries are asynchronously superimposed over each other to further magnify a song’s discomposing outcome. The synthesis of these elements results in an album that serves to confirm Darvulia’s inarguably significant residence in the canon of French black metal.

(Description by C. Conrad)
Although the band is entirely French in its nationality and stylistically in its brand of black metal, Darvulia likely derives its name from the Hungarian witch, Anna Darvulia, a servant of the infamous Elizabeth Bathory who is said to have provided Bathory with guidance during the most prolific period of the countess’s notorious atrocities. It is an appropriately adopted moniker, given that the band’s musical output would serve as a fitting soundtrack to the mind of a depraved psychopath. Nuclear War Now’s admiration of Darvulia’s work extends back to the band’s second full-length album from 2005, entitled “L’Alliance des Venins,” which NWN! has credited as being a masterpiece of French black metal. Despite the fact that it has been somewhat overshadowed by the band’s sophomore effort, Darvulia’s third album, “Mysticisme Macabre,” follows the same recipe established by its predecessor five years prior to the latter album’s original CD release by Battlesk’rs Productions in 2010. Another six years later, “Mysticisme Macabre” now receives its first release on vinyl LP format, courtesy of a joint endeavor between Nuclear War Now! and Battlesk’rs Productions.
As with Darvulia’s previous album, “Mysticisme Macabre” is most effective in its entrancing, repetitive song structures. Individual songs tend to abruptly alternate between blisteringly-fast and hypnotically-languid tempos. In combination with the unsettling effect of these contrasting tempo shifts, the riffs further disorient the listener with their unyielding and cyclical progressions among atonal, tremolo-picked chords and dissonantly arpeggiated sequences of notes. Rather than attempt to impress its audience with an unending barrage of constantly changing intracacies, Darvulia instead chooses to leave its mark with the narcotic reduplication of this proven formula. In addition, the abrasively throaty vocals present throughout greatly contribute to the overall portentous nature of the music. Occasionally, as in “Le Rituel des Sept Serpents,” two separate vocal tracks recorded in alternate pitches and deliveries are asynchronously superimposed over each other to further magnify a song’s discomposing outcome. The synthesis of these elements results in an album that serves to confirm Darvulia’s inarguably significant residence in the canon of French black metal.

Description by C. Conrad)
Although the band is entirely French in its nationality and stylistically in its brand of black metal, Darvulia likely derives its name from the Hungarian witch, Anna Darvulia, a servant of the infamous Elizabeth Bathory who is said to have provided Bathory with guidance during the most prolific period of the countess’s notorious atrocities. It is an appropriately adopted moniker, given that the band’s musical output would serve as a fitting soundtrack to the mind of a depraved psychopath. Nuclear War Now’s admiration of Darvulia’s work extends back to the band’s second full-length album from 2005, entitled “L’Alliance des Venins,” which NWN! has credited as being a masterpiece of French black metal. Despite the fact that it has been somewhat overshadowed by the band’s sophomore effort, Darvulia’s third album, “Mysticisme Macabre,” follows the same recipe established by its predecessor five years prior to the latter album’s original CD release by Battlesk’rs Productions in 2010. Another six years later, “Mysticisme Macabre” now receives its first release on vinyl LP format, courtesy of a joint endeavor between Nuclear War Now! and Battlesk’rs Productions.
As with Darvulia’s previous album, “Mysticisme Macabre” is most effective in its entrancing, repetitive song structures. Individual songs tend to abruptly alternate between blisteringly-fast and hypnotically-languid tempos. In combination with the unsettling effect of these contrasting tempo shifts, the riffs further disorient the listener with their unyielding and cyclical progressions among atonal, tremolo-picked chords and dissonantly arpeggiated sequences of notes. Rather than attempt to impress its audience with an unending barrage of constantly changing intracacies, Darvulia instead chooses to leave its mark with the narcotic reduplication of this proven formula. In addition, the abrasively throaty vocals present throughout greatly contribute to the overall portentous nature of the music. Occasionally, as in “Le Rituel des Sept Serpents,” two separate vocal tracks recorded in alternate pitches and deliveries are asynchronously superimposed over each other to further magnify a song’s discomposing outcome. The synthesis of these elements results in an album that serves to confirm Darvulia’s inarguably significant residence in the canon of French black metal.

Sektarism's part recorded and mastered in august 2013 at Drudenhaus studio by Xort.

Layout by MystiK Dementia.

Quote from J. Campbell:
Often overlooked, but never disappointing, DARVULIA has consistently produced some of the most unique Black Metal of the last decade. The band’s sparse catalog reflects its dedication to and the complexity of its work. The material on this new release is a departure from the band’s previous releases, however. Consisting of a single, 17-minute track of ritualistic and atmospheric improvisational music that defies simple categorization, Darvulia’s side of this split finds the band exploring more ritual and ambient territory. SEKTARISM, a band that also hails from France, provides a sprawling 20-minute track for the B-side of this release. Sektarism’s unique brand of bleak, ceremonial doom is an appropriate rejoinder to Darvulia’s morose presentation. While Darvulia’s side is sparse, Sektarism’s sound is full, oppressive, and pulverizing. It is persistent in its approach – repetitive, but not monotonous. As Sektarism’s track progresses, it breaks apart and disintegrates into noise laden bass drones that approach the minimalism that characterizes Darvulia’s side of the release. In this way, this split reflects a concerted approach by both bands to attain an atmospheric consistency will still retaining the unique stylistic flourishes of each band.

Quote from label: "French post-black metal act DECLINE OF THE I second album "Rebellion" features seven new tracks maintained in an imaginative post-black metal environment. The music is multifaceted and full of motion.
The album was recorded in Studio de Chine with Khatchik Hovikian (L’odeur du Tchaman), while Xort (Seth, Alcest, Vorkreist, Anorexia Nervosa) took care of the mastering. Layout and artwork were created by the French photographer and filmmaker David Fitt (Aosoth, Secrets of the Moon, Svart Crown). "Rebellion" includes guest appearance by Olivier from Eros Necrospique."

Quote from label: "Thunder rumbles from afar as the rain falls incessantly, needlelike, merciless. A wild storm suddenly breaks out and fades out to quietness, nothingness. DÉLUGE The band delivers a razor sharp blend of Black Metal and Post-Hardcore for an incredibly modern, visceral and atmospheric result. The crushing sound of Æther, resulting from the work of Christophe Edrich (The Ocean, Hacride, Klone, …) and Joey Sturgis (Oceano, The Acacia Strain, Born of Osiris,…), will assuredly leave a mark on the swarming Black Metal scene. DÉLUGE can already be counted as one of the future spearheaders of the Black Metal / Post-Hardcore scene. Æther is a combination of thundering drums and scathing riffs wrapped in a stifling frozen atmosphere".

The Sinister Tarot A Musickal Working, Instruments Modern and Voice
LP with 12 page A5 booklet.

The sinister tarot is a variant of the “standard” tarot.
It is described fully in the Order of Nine Angles’ key guide
to practical Satanism, NAOS.
Each track is an interpretation in sound of a specific card
(from the major arcana only for the purposes of this "album").

The musick herein can seen as well as heard, being a
spontaneous manifestation expressed through the
magickal meditations of each element, associative and
dissociative, linear or otherwise.
The musick, like that of the individualized tarot cards of
the sinister deck, being self-divined, self-made, self-sourced
to a largely personal degree, still has immense relevance for others
as it further informs and enriches the egregore of the Septenary path
that is ONA.

With visualizations in sound of:
Col Cruachan, the hill of the wizard (1. The Magickian)
Forest tides (4. Lord of the Earth)
Inversely twisting oak gibbet (12. The Hanged Man)
The geryne of Satan (8. Change)
Sisters of the starry mere (10. Wyrd)
Ere the dancers depart (19. The Sun)
A Deverills man at the Bladud’s Head (20. The Aeon)
The glade of flowery broken skulls (3. Mistress of Earth)
Bestride a corpse with my face (14. Hel)
A curious long barrow view, one of many (0. The Fool)
Dawn’s flow (17.The Star)

Quote from label: "...What was long buried and forgotten has once again been dug up.
Die Kunst der Finsternis returns from the dead and brings forth twelve utterly filthy hymns entitled "Queen of Owls"...